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Diana Ross & The Supremes – Motown Albums 1964-1969 (10CD) (Japanese Mini-LP SHM-CD Remastered Reissue 2012) [FLAC]

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Genre: Motown, R&B, Soul, Funk, AM Pop | Label: Motown Records/Universal Music Japan | Time: 05:38:04

Cardboard sleeve (mini LP) reissue from Diana Ross & The Supremes featuring the loftier-allegiance SHM-CD format. Part of a ten-album Diana Ross & The Supremes SHM-CD cardboard sleeve reissue series featuring albums "Where Did Our Love Go", "More Hits By The Supremes", "I Hear A Symphony", "The Supremes A Go Go", "Sing The netherlands Dozier Kingdom of the netherlands", "Reflections", "Join The Temptaions", "Love Kid", "Permit The Sunshine In", and "Cream Of The Ingather".

The about successful American performers of the 1960s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off 5 number one singles in a row at one point. Disquisitional revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the all-time soul stars (or even the best Motown stars), and viewing them as a tool for Berry Gordy'due south crossover aspirations. There's no question that in that location was about as much pop equally soul in the Supremes' hits, that even some of their biggest hits could audio formulaic, and that they were probably the blackness performers who were about successful at infiltrating the tastes and televisions of eye America. This shouldn't diminish either their extraordinary achievements or their fine music, the all-time of which renders the popular vs. soul question moot with its excellence.

the Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would get famous as the Supremes — Diana Ross, Mary Wilson, and Florence Ballard — met in the belatedly '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth fellow member) when they fabricated their first unmarried for the Lupine label in 1960. By the fourth dimension they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their starting time single.

the Supremes' first Motown recordings were much more girl group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as expert or better a voice, too sang lead. Through a lengthy series of flops, Drupe Gordy remained confident that the group would eventually prove to exist ane of Motown's biggest. By the time they finally did get their offset Top twoscore striking, "When the Lovelight Starts Shining Through His Optics," in late 1963, Ross had taken over the lead singing for adept.

Ross was not the almost talented female vocaliser at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did accept, still, was the nigh purely pop appeal. Gordy's patience and attention paid off in mid-1964, when "Where Did Our Love Go" went to number 1. Written by The netherlands-Dozier-Kingdom of the netherlands, it established the image for their run of 5 sequent number-one hits in 1964-1965 (as well including "Baby Love," "Stop! In the Name of Love," "Come Come across About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative fill-in vocals, put over on television and alive functioning with highly stylized choreography and visual mode. Kingdom of the netherlands-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.

Not all of the Supremes' singles went to number one afterward 1965, but they normally did awfully well, and were written and produced with enough diversity (but enough of a characteristic sound) to ensure continual involvement. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (nearly notably Martha Reeves) resented what they perceived as the inordinate attending lavished upon Ross past Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, equally a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become 1 of rock'due south greatest tragedies, eventually catastrophe up on welfare, and dying in 1976.

After Ballard'south exit, the group would be billed as Diana Ross & the Supremes, fueling speculation that Ross was beingness groomed for a solo career. the Supremes had a big yr in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown arrangement every bit a whole). the Supremes were yet superstars, just equally a unit of measurement, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their last hits, a couple of which ("Love Kid" and "Someday Nosotros'll Be Together") were amongst their best.

In November 1969, Ross' imminent departure for a solo career was announced, although she played a few more than dates with them, the final in Las Vegas in January 1970. Jean Terrell replaced Ross, and the group continued through 1977, with some more personnel changes (although Mary Wilson was always involved). Some of the early Ross-less singles were fine records, particularly "Stoned Love," "Nathan Jones," and the Supremes-4 Tops duet "River Deep — Mountain High." Few groups take been able to ascent to the occasion after the loss of their figurehead, though, and the Supremes proved no exception, rarely making the charts later 1972. It is the Diana Ross-led era of the 1960s for which they'll be remembered.

Biography by Richie Unterberger, Allmusic.com

The Supremes – Where Did Our Dear Go (1964) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Even though this long-actor was the second collection to have featured the original Supremes lineup with Mary Wilson, Florence Ballard and Diana Ross, Where Did Our Love Get (1964) was the first to significantly impact the radio-listening and record-ownership public. Information technology effectively turned the trio — who were called the 'No-Hitting Supremes' by Motown insiders — into 1 of the label'south nearly substantial acts of the 1960s. Undoubtedly, their success was at least in office due to an influx of fresh cloth from the formidable composing/production team of Brian The netherlands, Lamont Dozier and Eddie The netherlands (HDH). They had already proven themselves by presenting "(Your Love Is Similar A) Heatwave" to Martha & the Vandellas and providing Marvin Gaye with "Can I Get a Witness." Motown-head Berry Gordy hoped HDH could once once more strike gold — and male child, did they ever. As as impressive is that the Supremes were among the handful of domestic acts countering the initial onslaught of the mid-'60s British Invasion with a rapid succession of four Summit 40 sides. Improve all the same, "Where Did Our Love Go," "Baby Beloved" and "Come See Almost Me" made it all the way to the top, while "When the Lovelight Starts Shining Through His Optics" (number 23), "Run, Run, Run" (number 93) and "A Breath Taking Guy" (number 75) were able to garner enough airplay and sales to make it into the Tiptop 100 Pop Singles survey. HDH weren't the only contributors to the effort, equally William "Smokey" Robinson supplied the tricky doo wop influenced "Long Gone Lover," every bit well every bit the aforementioned "Jiff Taking Guy." Norman Whitfield penned the mid-tempo ballad "He Means The World to Me," and former Moonglow Harvey Fuqua co-wrote "Your Osculation of Fire." With such a considerable track listing, information technology is no wonder Where Did Our Beloved Become landed in the penultimate spot on the Pop Album chart for four consecutive weeks in September of '64 — making it the all-time received LP from Motown to date. In 2004, the internet-based Hip-O Select issued the double-disc Where Did Our Love Become [Expanded 40th Anniversary Edition] in a limited pressing of 10,000 copies. The bundle included the monaural and stereo mixes, plus a never before available seven-song vintage live set from the 20 Thousand Guild in Detroit and some other 17 unreleased studio cuts documented around the same time.

Review by Lindsay Planer, Allmusic.com

Tracklist:
01. Where Did Our Love Go? (02:33)
02. Run, Run, Run (02:16)
03. Baby Love (02:37)
04. When The Love Light Starts Shining Through His Eyes (03:05)
05. Come up Run across About Me (02:44)
06. Long Gone Lover (02:25)
07. I'yard Giving You lot Your Freedom (02:39)
08. A Breath Taking Guy (02:24)
09. He Means The World To Me (01:59)
x. Standing At The Crossroads Of Love (02:28)
eleven. Your Buss Of Burn (02:47)
12. Inquire Whatever Girl (03:00)

The Supremes – More Hits By The Supremes (1965) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Its championship might lead one to call up this was a compilation, but it wasn't — rather, More Hits by the Supremes is simply a valid presumption of its worth. It was also the original group's third highest charting album of their five years on Motown, and came not a moment besides soon. The Supremes were doing incredibly well as a singles act, but not since Where Did Our Dear Become had whatsoever of their LPs done particularly well on the popular charts; even a well-intentioned Sam Cooke-tribute album recorded early in 1965, which ought to take done better, had only reached number 75 (though it had gotten to number five on the R&B LP charts). "Terminate! In the Proper name of Love" and "Back in My Arms Again" helped bulldoze the sales, but those singles had been out six and three months earlier at the time this album surfaced — listeners were delighted to find those singles surrounded by their ethereal rendition of the ballad "Whisper You Dearest Me Boy" with its exquisitely harmonized middle chorus; the gently soulful, sing-song-y "The Only Time I'chiliad Happy"; and the sweetly dramatic "He Holds His Ain" (with a gorgeous and very prominent piano accompaniment). The material dated across six months of work, from late 1964 through the spring of 1965 (apart from "Ask Whatsoever Girl," the B-side of "Baby Love," which was cut in the jump of 1964), and showed that Motown could put a Supremes album together piecemeal effectually the The netherlands-Dozier-Holland songwriting team and place the trio right up at the peak reaches of the charts, in the visitor of the Beatles, the Rolling Stones, et al. Its release likewise opened a floodgate of killer albums by the trio — overlooking their 1965 LP of Christmas songs, they were destined to issue three more than long-players that delighted audiences a dozen songs at a time over the adjacent ii years, which was a lot of good work.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Enquire Whatsoever Girl (02:46)
02. Nothing But Heartaches (02:59)
03. Mother Love (02:45)
04. End! In The Name Of Dearest (02:54)
05. Honey Boy (02:35)
06. Back In My Arms Again (02:54)
07. Whisper You Beloved Me Boy (02:37)
08. Only Time I'm Happy (02:32)
09. He Holds His Own (02:32)
10. Who Could Ever Dubiety My Love (02:43)
11. (I'thousand So Glad) Heartaches Don't Terminal Ever (02:58)
12. I'g In Honey Over again (02:19)

The Supremes – I Hear A Symphony (1966) Japanese Mini-LP SHM-CD Remastered Reissue 2012

I Hear a Symphony has some great soul numbers on it, generally by the Kingdom of the netherlands-Dozier-Holland songwriting team, including not only the title track but also "Any Girl in Love (Knows What I'grand Going Through)," "My World Is Empty Without You," and "He's All I Got" — the latter is one of the greatest album tracks the group ever recorded, with stunning vocals by Mary Wilson and Florence Ballard behind Diana Ross, showing the trio in just about its acme grade. Other parts of I Hear a Symphony seem to take its title runway almost literally, with the inclusion of the regal "Unchained Melody" and the Bach-based "A Lover'southward Concerto"; the latter, in particular, is a Diana Ross tour de strength, with very sweetly understated accompaniment past Wilson and Ballard. And elsewhere, Berry Gordy was pushing his vision of the Supremes as a mainstream pop trio, covering "A Stranger in Paradise," "With a Song in My Centre," "Without a Song," and "Wonderful, Wonderful." None of these are bad, only neither are they terribly distinguished — the grouping even adds a sure fresh sparkle to "Wonderful, Wonderful," but realistically, people were paying their coin for the Kingdom of the netherlands-Dozier-Holland and Eddie Holland-authored songs, any of which would accept fabricated about as fine singles every bit anything the trio ever put out, and all of which are still a chunk of the best part of the group's legacy.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Stranger In Paradise (03:05)
02. Yesterday (02:xxx)
03. I Hear A Symphony (02:43)
04. Unchained Melody (03:49)
05. With A Song In My Centre (02:04)
06. Without A Song (03:00)
07. My World Is Empty Without You (02:36)
08. A Lover's Concerto (02:37)
09. Any Girl In Love (Knows What I'm Going Through) (03:00)
10. Wonderful, Wonderful (02:52)
xi. Everything Is Good About You lot (03:01)
12. He's All I Got (02:46)

The Supremes – A' Go-Get (1966) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Supremes A' Become-Get was the group's first number one popular album, propelled to that place with help from a chart-topping single ("You Tin can't Hurry Honey") and a marketing ploy that generated an irresistible song lineup. And along with The Supremes Sing Kingdom of the netherlands-Dozier-Holland, Supremes A' Get-Go has held its value amend than almost any of the trio's most successful albums (which excludes Nosotros Retrieve Sam Cooke) — in fact, back in the days when vinyl was the just game in town, used copies of this tape sold faster and ameliorate than whatever of their other common '60s LPs, and for adept reason. Various hits compilations had skimmed the most familiar songs off of Where Did Our Beloved Become, I Hear a Symphony, etc., just the very concept behind Supremes A' Go-Go — getting the grouping to cover some of the height hits of other (mostly Motown) acts — dictated that every song on this album was familiar in name, and just "You Can't Hurry Love" was culled for any hits packages. There was a lot to recommend it musically, including the trio soaring rendition of "Shake Me, Wake Me" and a version of "Get Ready," which, fifty-fifty if it was no threat to the Temptations, yet could have been a hit. Similarly, "Baby I Need Your Lovin'" and "I Tin't Assist Myself" will e'er belong to the Iv Tops, but Diana Ross, Mary Wilson, and Florence Ballard throw themselves into both (in a less weighty version of the former) with enough spirit to brand them piece of work as album cuts; "Coin" is diverting if less successful, and "Come and Become These Memories" is worth checking out just to hear Florence Ballard and Mary Wilson step frontwards. And even the not-Motown covers, like "These Kick Are Made for Walkin'" and "Hang on Sloopy," make worthwhile listening, with Ross turning in a surprisingly potent, passionate performance on the latter. A number 1 album in its time on the popular and R&B charts, Supremes A' Go-Go also benefited from the fact that at that place were no pop standards or tedious ballads here, just solid R&B trip the light fantastic numbers.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. Love Is Like An Itching In My Heart (02:56)
02. This Onetime Heart Of Mine (Is Weak For You) (02:37)
03. You Can't Bustle Love (02:48)
04. Shake Me, Wake Me (When Information technology'south Over) (02:48)
05. Baby I Need Your Loving (03:01)
06. These Boots Are Made For Walking (02:32)
07. I Can't Assistance Myself (02:38)
08. Get Prepare (02:45)
09. Put Yourself In My Place (02:21)
10. Coin (That's What I Want) (02:28)
11. Come And Get These Memories (02:xx)
12. Hang On Sloopy (02:42)

The Supremes – Sing Holland-Dozier-Kingdom of the netherlands (1967) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Anchored by two of their most popular recordings, "Y'all Keep Me Hanging On," and "Love Is Here and Now You're Gone," this LP features Kingdom of the netherlands, Dozier & Kingdom of the netherlands (HDH) compositions and productions, and it ranks among their all-time. The Supremes' renditions of songs popularized past label mates illustrate the interchangeability of HDH's songs. Ross'southward soprano may not have the bite of Ron Isley's tenor, but she still does a better than boilerplate job on "I Gauge I Always Love." Two Four Tops' remakes, 'I'll Turn to Rock," and "The Aforementioned Old Song," are just as slap-up as the originals. An update of Martha & Vandellas' "Love Is Like a Oestrus Moving ridge" fails to live up to the dynamics of the original. The Vandellas' version was special, while this ane comes off like another song for the session. "Mother You, Smother You" is also formulaic, only the singing and lyrics places it well above what other girl groups were releasing at the time. Ditto for "Going Down for the Tertiary Time." A Supremes' album track would exist an A-side for near artists. The prolific writers did an excellent job on their namesake LP, which turned out to be the final of the bully Supremes albums.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. Yous Go along Me Hangin' On (02:44)
02. (You lot're Gone Just) Always In My Heart (02:38)
03. Love Is Here And Now You're Gone (02:49)
04. Mother You lot, Smother You (02:36)
05. I Guess I'll Ever Dearest You (02:41)
06. I'll Turn To Stone (02:24)
07. Information technology's The Same Quondam Song (02:31)
08. Going Down For The Third Fourth dimension (02:36)
09. Beloved Is In Our Hearts (02:09)
10. Remove This Incertitude (02:54)
11. There's No Stopping U.s.a. Now (03:00)
12. (Love Is Like A) Heat Wave (02:36)

Diana Ross & The Supremes – Reflections (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Their last anthology with Holland-Doizer-Kingdom of the netherlands at the creative helm, information technology was apparent that both parties were battling artistic fatigue and were exhibiting the advisable scars at the time. Just aside from the then-innovative title song and the jazzy "In and Out of Love," there'south nothing much to get excited about. (Note: the CD version contains 2 extra tracks, ane being a lackluster rendition of "Stay in My Lone Arms" that pales next to the Elgins' original).

Review by John Lowe, Allmusic.com

Tracklist:
01. Reflections (02:52)
02. I'm Gonna Make You Love Me (02:49)
03. Forever Came Today (03:xv)
04. I Can't Brand It ALone (03:15)
05. In And Out Of Dear (02:42)
06. Bah-Bah-Bah (03:20)
07. What The World Needs At present Is Love (02:53)
08. Upwards, Upwards And Away (02:32)
09. Love (Makes Me Exercise Foolish Things) (02:55)
10. Then (02:10)
11. Misery Makes It'southward Home In My Centre (02:55)
12. Ode To Billie Joe (04:56)
xiii. Stay In My Solitary Arms (03:eighteen)
fourteen. All I Know Almost Y'all (01:56)

Diana Ross & The Supremes – Join The Temptaions (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

What more could you lot want, two smashing groups, 11 great songs, and classic Motown productions. Contains the super groups' big hit "I'g Gonna Make Y'all Beloved Me" and the equally effervescent "I'll Try Something New." Only the goodies don't end there: Check "Attempt Information technology Baby," a remake of Marvin Gaye's striking, done this time with bass Melvin Franklin groaning pb lines to Diana Ross' soprano; Diana and Dennis Edwards recreate Marvin and Tammi on a rousing version of "Ain't No Mountain High Enough"; smooth tenor-singing Otis Williams does a silky rendition of "This Guy's in Love With You"; and Paul Williams is forever Paul as the prominent vocalization on "Then," an old Four Tops album cutting. Originally released in 1969, this is a CD every Temptations, Diana Ross & the Supremes, and Motown fan should take. A Holland import combines this and a post-obit anthology by both groups on one CD — 21 tracks of these delicacies.

Review past Andrew Hamilton, Allmusic.com

Tracklist:
01. Effort Information technology Babe (03:45)
02. I Second That Emotion (02:22)
03. Ain't No Mountain High Enough (02:17)
04. I'm Gonna Make You Honey Me (03:09)
05. This Guy's In Love With Y'all (03:47)
06. Funky Broadway (02:35)
07. I'll Try Something New (02:22)
08. Place In The Sun (03:31)
09. Sugariness Inspiration (02:58)
10. Then (02:fifteen)
11. To Dream The Impossible Dream (04:47)

Diana Ross & The Supremes – Love Child (1968) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Through 1964 to 1967 the Supremes were Motown's biggest human activity. Singles like "Where Did Our Love Go," "Dorsum in My Arms Over again," and "You Keep Me Hanging On" defined the label'southward pop prowess and the quirky appeal of talented pb vocalizer Diana Ross. By 1968, the group not only lost member Florence Ballard, but likewise Holland-Dozier-Holland who had written and produced all of their large singles. Cindy Birdsong joins Mary Wilson and Ross for this 1968 try and the group name was officially changed. Although it's always fun to hear Ross and the Supremes, the most interesting affair about this effort is its production. With a lack of consistently great songs, Love Child had to rely on hooks, choruses, and product values rather than magical songs. The well-produced and controversial title track proved how skilful Ross is with melodrama. "How Long Has That Evening Train Been Gone" has a great bassline from James Jamerson and Ross oddly having a lot of fun with her supposedly dire romantic prospects. The warm cover of Bobby Taylor and the Vancouvers' classic "Does Your Mamma Know About Me" sticks close to the original with skillful results. Ashford and Simpson offering two of their early tracks, the album'south first unmarried "Some Things Yous Never Get Used To," and the graceful "Y'all Ain't Livin' Until You're Lovin'." For the most function, Love Child's tracks seem to run together only this offers the late-'60s Motown sound without gimmicks and is more than recommended.

Review past Jason Elias, Allmusic.com

Tracklist:
01. Love Child (02:58)
02. Proceed an Eye (03:08)
03. How Long Has That Evening Train Been Gone (02:48)
04. Does Your Mama Know Almost Me (02:54)
05. Love Bee (Keep On Stinging Me) (02:22)
06. Some Things You Never Become Used To (02:25)
07. He's My Sunner Boy (02:22)
08. You lot've Been So Wonderful To Me (02:34)
09. (Don't Interruption These) Chains of Love (02:25)
10. You Ain't Livin' Till You're Lovin' (02:44)
11. I'll Set You Free (02:40)
12. Can't Shake Information technology Loose (02:07)

Diana Ross & The Supremes – Let The Sunshine In (1969) Japanese Mini-LP SHM-CD Remastered Reissue 2012

Allow the Sunshine In appeared deceptively tardily, given some of its content in the history of Diana Ross & the Supremes. Released in the jump of 1969, by which time the Supremes were already seeming a bit sometime-hat, it generated relatively little excitement, and its tardily placement in their discography however makes it suspect, at first glance, to historically minded listeners. The fact that it's besides from the grouping's post-Holland/Dozier/Holland period also makes information technology automatically less interesting in a musical/historical context. Actually, it's a pretty strong pop-soul endeavor — Diana Ross is the obvious focus, and given the chaotic circumstances surrounding the group during this period, information technology'south difficult to say at all times who is singing with her (Mary Wilson and Cindy Birdsong are obviously nowadays somewhere, and the Andantes are, no dubiousness, backing Ross upward at some points); merely it does comprise one track, the hauntingly beautiful "Let The Music Play," dating all the fashion back to 1967 and including founding member Florence Ballard. The album is nonetheless solid listening twoscore-plus years later, and it'south not like shooting fish in a barrel to explain why it performed poorly on the pop charts, especially with iii hitting singles present to help bulldoze sales; "I'm Livin' in Shame" had been a Pinnacle 10 unmarried and was making its LP bow, and "The Composer" (authored by Smokey Robinson) easily made the Top 30. The i weak link in the AM radio department was "No Thing What Sign Y'all Are," a Drupe Gordy composition that was more a catchy inventory of trends — including a sitar in the arrangement that was dated by 1969 — than a new horizon in pop music. The album does embrace more of a soul audio than early on Supremes efforts, and audiences (and radio stations) were perhaps picking that up more succinctly here; thus, information technology got to number seven on the R&B charts merely only a paltry number 24 as a pop anthology. Ross is in fantabulous form throughout, and the arrangements reach for the lush side of soul, which would go her trademark every bit a solo creative person. Ironically, the weakest link is the title rail, Ross' cover of the Hair medley "Aquarius/Let the Sunshine In" — Ross only doesn't do well (or much) with the songs. Fortunately, it is followed past "Let the Music Play," which more than makes up for the lost opportunity, as well equally offering a poignant look back at the original trio.

Review by Bruce Eder, Allmusic.com

Tracklist:
01. The Composer (03:02)
02. Everyday People (03:03)
03. No Matter What Sign You lot Are (02:56)
04. Hey Western Union Man (03:01)
05. What Becomes Of The Brokenhearted (02:55)
06. I'chiliad Livin' In Shame (03:01)
07. Aquarius / Let The Sunshine In (03:12)
08. Let The Music PlaDR9 -0.01 dB -11.12 dB 4:57 12-Ode To Billie Joey (02:42)
09. With A Child's Centre (03:05)
10. Discover Me (And You'll Notice Love) (02:32)
11. Volition This Be The Day (02:56)
12. I'm So Glad I Got Somebody (Like You lot Around) (03:32)

Diana Ross & The Supremes – Cream Of The Crop (1969) Japanese Mini-LP SHM-CD Remastered Reissue 2012

The final Diana Ross & the Supremes' anthology before Ross' departure, a duet LP with the Temptations (the second for the two groups) came out the same month. This canaille bunch of vault dwellers and passed over tunes written by the company's third and fourth tier writers and producers has a misleading title: there are few creams and it's a bad crop. The sole star is their scintillating remake of Johnny & Jackey'due south forgotten "Someday We'll Be Together" — their last hurrah, and a few other honorable mentions, namely "The Young Folks" and "Y'all Gave Me Love." Despite the shortcomings, it wrangled its manner to number 33 on Billboard'southward Pop Chart.

Review by Andrew Hamilton, Allmusic.com

Tracklist:
01. Someday We'll Be Together (03:34)
02. Can't You Encounter It's Me (02:36)
03. You Gave Me Love (02:42)
04. Hey Jude (03:08)
05. Young Folks (03:14)
06. Shadows Of Club (03:13)
07. Loving You lot Is Amend Than Ever (02:48)
08. When It'southward To The Top (Still I Won't Stop Giving You Honey) (03:00)
09. Till Johnny Comes (03:00)
10. Blowin' In The Wind (03:10)
xi. Beginning Of The End (02:28)

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